POLKA DOT SHORTS

Live Review - Alt-J w/New Gods @ Ding Dong Lounge, 20th October, 2012

pokerdotshorts — Sun, 28 Oct 2012 15:42:00 +1100

Published in Inpress/TheMusic.com.au 23.10.12

www.themusic.com.au

Strangers with pleading eyes greet each punter headed for the entrance of Ding Dong and ask, “Do you know anyone wanting to sell their ticket?” No one does. In fact, everyone here has a friend (or friends) who missed out. Melbourne supergroup New Gods open to a swelling room, at times channeling a Twerps/Real Estate vibe, but mostly serving their own taste of danceable alt.pop that’s instantly addictive. Made up of members from Little Red, Eagle & The Worm and Ground Components, the collaborative venture feels like a natural progression for the gang, marrying their sounds to produce one hell of a hooky setlist that’s well worthy of tonight’s hot support slot.

In between bands, Massive Attack’s Teardrop pulsates behind a thick layer of chatter and buzz. After what feels like hours (but what is actually only 30 minutes) all four members of Alt-J arrive to a rapturous room and open with the aptly titled Intro,the perfect prelim of steady beats, haunting keys and lead singer Joe Newman’s mellow vocals. A sea of hands charge into the air and make the delta sign, the bands logo (derived from holding ‘alt’ and ‘j’ down on a Mac keyboard). Interlude I follows and a smile snakes across the faces of each member as the crowd hurtle every lyric into the air.

For a band that’s played some of Europe’s best music festivals, the Leeds quartet is incredibly humble, continually thanking the crowd between playing tracks off their 2012 debut LP An Awesome Wave. It’s impossible not to dance to the rolling beats in Something Good,a folk/tribal/pop flow that creates a ripple across the room. Newman needn’t bother singing duringDissolve Me;the crowd does it for him, to which the band responds by swapping can-you-believe-how-awesome-this-is looks. A surprise hip hop mash-up of Kylie Minogue’s Slow with Dr Dre’s sparkling keys from Still D.R.E (awesome) further proves their ability to genre-cross with ease, as does their own Fitzpleasure which, again, is met by a wild room. Newman attempts a breather with, “I’m sweating like a bitch!” but the crowd doesn’t budge, reserving the biggest applause for the standout Breezeblocks. They return for the inevitable encore, playingTara toround up the night.

There is no distance, no gap that needs bridging between band and crowd, just an overall rapturous vibe from start to finish. Take it from this golden-ticketholder – if given the chance, this is one live act you cannot afford to miss.

Album Review - Lonerism - Tame Impala

pokerdotshorts — Sun, 21 Oct 2012 18:01:13 +1100

Published in Music Universe 21.10.12

www.musicuniverse.com.au

It’s not just the summery ambiance about Lonerism that makes the record a timely release for Perth band Tame Impala. It’s the much-needed musical expansion that mastermind Kevin Parker has nailed, dodging the ‘Same-Impala’ bullet that they were coming dangerously close to facing.

The release of their first EP was hailed as a revival of late 60s/early 70s psychedelia which, despite the odd experimental offering from modern artists, was virtually non-existent. The success of tracks, such as Half Full Glass Of Wine, lead to the consequent LP Innerspeaker, an organic fusion of modern beats and dreamy, neo-psychedelic/surf that striked a cord with music lovers around the world. Which now brings us to Lonerism, their second full-length release that’s just as glorious, if not more so, than their first. This is a more upbeat, more alive Tame Impala than previous releases would have us believe. That’s not to say that Innerspeaker was monotonic – far from it – but rather that Lonerism, despite what the name may imply, is more inviting.

Opening track Be Above It opens with a breathy, pulsating beat, and is a solid prelim for what’s to come – that is, escalating rhythms, floaty melodies, synths and backdrop vocals. Endors Toi pulls off the busy-without-being-messy rhythms, while peppy drumbeats carry Why Won’t They Talk To Me, a track that showcases the lyrical theme of solitude (the thread throughout the album and reasoning behind the moniker Lonerism). There are moments where Parker sounds scarily similar to John Lennon, especially during Apocalypse Dreams and Keep On Lying, yet this feels more like a result of the producing rather than blatant imitation. The first single, Elephant is by far the album standout, with an addictive, chugging tune that’s bound to stay in your head hours after you’ve put the headphones away.

Above all, Lonerism is a spirited offering of innovative pysch-pop. It’s a record you could put to on repeat for hours, discovering new twists and turns with each listen, and one sure to see Tame Impala gain even more musical leverage.

Live review - 2012 Jägermeister Independent Music Awards @ Revolt, 17th October, 2012

pokerdotshorts — Sun, 21 Oct 2012 17:18:33 +1100

Published in Inpress/TheMusic.com.au 17.10.12

www.themusic.com.au

“Go independent music, go!” Host Dylan Lewis chants the night’s mantra as artists and industry types trickle into Revolt for the 2012 Jägermeister Independent Music Awards (previously known as the AIR awards). Guests are greeted with ginger-cider among many things (and who knew it tasted so good?) but most opt for the Jäger, including tonight’s host, who settles for shots onstage.

Now in its seventh year and known as the JIMAs, tonight is a celebration of Australian independent music. More than 450 members of the music industry judge the annual awards. Tim Levinson (aka Urthboy)’s impassioned opening speech pays homage to the indies before first performers Hermitude shake off the musings with a whirl. We dance vicariously through the front row hip hop dances (sigh) before Lanie Lane takes the night’s first gong for Best Independent Blues And Roots Album. Her subsequent performance, though initially riddled with sound issues, is charming.

Rapper 360 causes a stir by denouncing his right to his award for Best Independent Hip Hop Album “as an artist on a label who receives funding from a major label”, before interestingly referencing the very un-hip hop independent act The Jezabels as more worthy of recognition. The ‘Bels don’t miss out, taking out one of the biggest awards of the night, Best Independent Artist, for the second year running, humbly accepting their award via video message.

Industry favourite Tim Rogers joins Lewis on stage for a hilarious impromptu chat, most notably about his quest to become part of Australia’s “B-list celebrities” to which Lewis solemnly offers a “welcome”. Rogers awards Jess Ribeiro & The Bone Collectors the award for Best Independent Country Album for their LP My Little River before the heavily bearded Chet Fakertakes his first award for Breakthrough Independent Artist Of The Year.

House Vs Hurricane pumps up the room and blasts onstage with a stellar heavy set – so much so that it’s hard to re-adjust to the monotone Henry Wagons. We soon get used to his dry sense of humour, especially when he accepts the award on behalf of the absent Mike Nock Trio for their win in the Best Independent Jazz Album Category. More missing winners as I Oh You label co-founder Johann Ponniah accepts the award on behalf of his act DZ Deathrays for Best Independent Hard Rock Or Punk Album before Paul Kelly arrives in a maroon suit and, much to everyone’s excitement, guitar in hand. His performance of new track I’m On Your Side is nothing short of sensational, reaffirming his status as one of the most loved Australian artists (or as Lewis says, “Good Adelaide stock”).

One member of Royal Headache takes a leaf out of Lewis’s book and drinks from a bottle of Jäger onstage while his bandmate accepts their award for Best Independent Album. Opening act Hermitude come out on top to claim the prize for Best Independent Dance/Electronica Album before label Elefant Traks win the newly introduced (and coveted) prize for Best Independent Australian Label, with Levinson declaring, “We’re an artist-run label,” to a round of cheers. However, tonight’s leading man and only double-award winner is Chet Faker, who takes his second award in the Best Independent Dance/Electronica Single category for his hit, Terms And Conditions. He declares that if he can write and record in his garage that “maybe music isn’t broken”, proving this with a powerful, stripped-down performance of I’m Into You that stills the room. A live performance from Tim Rogers and The Bamboos closes what’s been a night of solid, promising Australian artists, and an industry willing to embrace them.

Album review - Homewrecker - Little Hurricane

pokerdotshorts — Sun, 21 Oct 2012 17:14:10 +1100

Published in Inpress/TheMusic.com.au 19.09.12

www.themusic.com.au

Could Little Hurricane fill the void left behind by The White Stripes? While the parallels will no doubt be drawn from their debut Homewrecker, this San Diego duo has a point of difference. Made up of Celeste ‘CC’ Spina on drums and Tone Catalano on guitar, Little Hurricane were born to a love of soul and blues, yet rather than solely resemble their predecessors, they’ve breathed new life into the weathered genre.

Little Hurricane have achieved a rare feat for a debut LP. They’ve established their parameters – that is, contemporary rock and blues – and instead of straying with fillers, they maintain a dark consistency across the entire album. The inevitable comparisons to the ‘Whites are established from the opening track Crocodile Tears, a rhythmic blues tune with an ominous tinge that chugs away beneath the call-and-response vocals between the duo. The contrast between Spina’s honeyed vocals and the threatening musical backdrop is the perfect point of tension, making it a standout track. Catalano shines with charging riffs and differing verse-to-chorus vocal tones inTrouble Ahead and Fourth Of July, yet is just as striking in the acoustic-driven Get By.

Spina and Catalano team up again in Shortbread, another standout track. Spina’s one vocal line in the chorus forms the crux of the tale, singing, “Start a fire in my heart” to which Catalano responds with pained precision, “That’s what I’m trying to do.” Sweet Pea follows suit with a devastatingly plea from Catalano to a lover who fled, but it’s the choice of the outstanding Give Em Hell to close the record that really sharpens their collection. Homewrecker is one outstanding debut and one that has ‘cult following’ written all over it.

Live review - Drunken Moon Festival @ The Corner Hotel, 2nd September, 2012

pokerdotshorts — Sun, 21 Oct 2012 17:07:05 +1100

Published in Inpress/TheMusic.com.au 04.09.12

www.themusic.com.au

Walking into the bandroom is like entering a rustic realm of its own. There are fedoras, cowboy hats, flannels and beards aplenty – a stark contrast from the post-footy punters upstairs sporting their yellow and black (rather gloomingly, may I add). Tonight, these avid music fans have flocked from all across the country for the first ever Drunken Moon Festival, a celebration of the underground country, folk and blues movement. It’s a scene that’s been bubbling below the surface for quite some time, and if tonight is anything to go by, a scene with a fierce allegiance.Frank Sultana & The Sinister Kids take the ‘Back Porch’ stage located just in front of the merch booth and open with a frolicking, foot-stomping tune. Backing vocalist Jessy Wadeson completes the group with smooth vocals (and is a knockout in a red dress) while Frank Sultana is at ease onstage. They’re the first of all bands to praise the mastermind of the event, James Grim, before coaxing some eager 7pm movers and shakers to the front for a boogie.

The crowd shuffle over to the considerably larger ‘Front Porch’ stage for Sydneysiders Papa Pilko & The Binrats. Frontman Cyrus Pilko is cowboy-clad and honky-tonk ready as he swings his belt in the air like a whip, struts around the stage, and charms with a mix of Aussie and southern lilt, suggesting, “It’s the Drunken Moon Festival so yer better get yerself sauced at the bar!” Theatrics aside, the seven-strong band (complete with horn section) raise the stakes early in the night, peaking with the smooth I Demand Satisfaction before ending with the Muddy Waters classic, I Can’t Be Satisfied. Gruntbucket have us shaking off the Pilko/Mississippi blues in no time with their garage-rock set. While the theme of the night is centered around folk, country and blues, the crowd welcomes the heavy change, with a few eager heads moshing their way to the front of the stage.

Little Bastard hit up the Front Porch and blaze through one manic, exhilarating, barnyard-hoedown of a set. The denim, sleek tees, baseball caps and flannels are at variance with the vintage instruments they play; a factor that doesn’t deter but rather adds to their young and eccentric charm. Nearly all members lend a hand at singing yet, when they’re not, they dance and laugh and just have a fucking good time doing what they do. The crowd mirrors their vibe and before you know it, they’re done. We make a mental note to keep an eye out for their next show.

Our routine saunter to the neighbouring stage becomes quite the journey as we try our best to dodge the drinks being flung about. The room swells with bodies as more bearded fellas and rockabilly ladies trickle in just in time for the stellar surfabilly duo, Mother & Son. The seasoned performers serve a mix of swamp rock, blues and an overall Tom Waits/The Black Keys vibe that has everyone onside. Bodie Jarman’s vocals are pebbly and raw without missing a note and by the end the crowd claim them as their own.

There are some bands you never tire of seeing live, and Kira Puru & The Bruise are definitely one of them. The Sydneysiders are regulars to Melbourne haunts such as the Old Bar (as are many of the bands on the bill tonight). While the band pound through a set of threatening, heavy rock, Puru is in her element, channeling her fierce onstage persona through threatening glares and a huge vocal range. You’d never mess with her, nor can you look away. Her mighty presence lingers about the room well after she leaves. We dance our way to the Back Porch one last time for Midnight Woolf, whose drummer sets a promising first impression with a Sonny & The Sunsets tee. The local rockers churn out a set of heavy, sweaty fun, with Jarman and Pilko (among many) dancing up a storm while the guitarist kicks over the cymbal in elation.

Fronted by James Grim, Brothers Grim is the final act to round up what’s been a wild journey. The band deviates from the norm and enters a world of horror-rock, nailing the set from start to finish. Grim looks ready to pounce as he shakes and intently eyeballs the crowd yet, between songs, his banter is warm and grateful. When he isn’t thanking bands, he covers everything from “beautiful woman”, a tribute to his recently deceased cat, to fetishes about high-heel pumps. At the request of an audience member, they end with the crowd favourite Dirty Dog, with Grim spitting and growling each lyric with feverish intent. While this new wave of rockin’ country-folk and blues may still be small, the ecstatic crowd proves exactly why these bands are of great importance in Melbourne’s ever-changing music landscape.

Album review - Deep Heat - Oh Mercy

pokerdotshorts — Sun, 21 Oct 2012 17:01:56 +1100

Published in Inpress/TheMusic.com.au 24.08.12

www.themusic.com.au

If you’re a fan of the acoustic-pop tunes that Oh Mercy favoured on their first two albums, and have since been salivating for album number three, then you’re in for a very big surprise. While their previous release, Great Barrier Grief, was celebrated for its summery ambiance, Deep Heatdelves into a realm of silky, groovy rhythms. I’m sure a change of tune wasn’t encouraged by fans, nor necessarily required; yet it’s this unexpected shift that makes the album the timely gem that it is. Instead of producing another breezy, acoustic LP, they’ve taken a risk and surprised us all. The result is an exciting, innovative record with a huge presence.

There’s definitely an air of ‘cool’ that douses the entire album. Recorded in America with producer Burke Reid (The Drones, The Mess Hall), Deep Heat has fun with a range of sounds, from ‘80s-inspired dance in Rebel Beats, to big-band in Fever before pulling off a blend of rock and reggae in the incredibly addictive Still Making Me Pay. Despite the range of genres, the transitions are seamless between each track. Whilst the indie-funk in the title track Deep Heatvaries considerably to the glossy prelim of Rebel Beats, the changeover is fluid.

Singer/songwriter and the face of the four-piece Melbourne band is Alexander Gow, whose charisma is felt on this recording more than ever. There’s a playful confidence that he’s gained from recording such a theatrical album, from Elvis-inspired vocal hiccups amid the steady swaggering tune of title track Deep Heat, to momentary screams in the chorus of Fever. Whether it’s Gow’s new quirky self-assurance that completes the album, or just the refreshing sound, one thing’s for sure – they’ve taken a risk and nailed it.

Live Review - The Harlots w/Mojo Juju & Stellar Angelico @ The Old Bar, 5th August 2012

pokerdotshorts — Sun, 21 Oct 2012 16:56:46 +1100

Published in Inpress/TheMusic.com.au 09.08.12

www.themusic.com.au

It’s nine o’clock and already the air in the low-lit band room is thick and heated. The implied theme at the Old Bar tonight is masquerade, as many are seen swanning around with dazzling masks, headpieces and hearty laughs. All that’s missing are the espresso martinis as the leopard-print clad Stella Angelico serves up her own taste of smoky, soulful fervor against a backdrop of rocking beats. Her stage persona has her oscillating between vulnerable lover and feisty vixen, a theatrical presence that she maintains (and nails) from start to finish.

Mojo Juju is one ‘wow’-worthy performer. Together with her band, she hexes the room with a blend of ballsy jazz, light punk, rocking blues and ballads that tease through tantalising stares. Her vocal range has no limits as she shares tales of lovers and evil, (“Bad folks go to prison, sinners go to hell”), while the sax sings a subplot of its own. Double-bassist and drummer are equally as impressive, yet it’s the front-woman who many stand on chairs and tiptoes to see amid the sweaty, dancing throng. She welcomes crowd banter with one-liners such as, “I’ve been told I smell like a rich person’s library”, and cheekily hinting for a refill with, “Oh no, my drink evaporated”, to which a punter suggestively yells, “Gin for skin! Gin for skin!”

It’s only fair to say that the quality of tonight’s acts is split evenly three ways. Six-piece The Harlots don’t necessarily outshine their supports, nor are they overshadowed. Instead, each bring their own flair to the stage, and in the case of the headliners, it’s their knack for writing stadium-big rock songs. Lead singer Tom Pitts finds his dancing nook on stage between two keyboards and the drums and boy, does he use every inch. There’s his Mick Jagger-swagger for starters, but what really gets the crowd going is when he wildly flops his limbs about the stage, body vibrating while his right hand wanders to the keys behind him.

The Harlots play tunes from both on and off their current self-titled EP, including Righteous Man, Bottom Of The Hill, but it’s Stronger By The Day that really gets the crowd dancing with its thumping rock chorus, gravelly vocals and hip-shaking verses. Much like his supports, Pitts’s stage persona may not translate on CD, but rest assured, it’s this charm that’s easily the crux of their live set.

Album review - The Protagonist - The Modern Congress

pokerdotshorts — Sun, 21 Oct 2012 16:51:34 +1100

Published in Inpress/TheMusic.com.au 01.08.12

www.themusic.com.au

The omniscient Tim Rollinson is the figurehead behind The Modern Congress, a musical collective made up of Australia’s finest session musicians. The Protagonist is the 11th studio album that the DIG (Directions In Groove) founding guitarist has played a big part in writing and producing, not to mention the additional 20-odd recordings he has featured on. However, while many have revered the virtuoso for his jazz collaborations, this album delves into a musical realm so expansive that to confine it to a single genre would be an injustice to the whole production. Instead, what’s prominent throughout is an inherent maturity, a suave, urban thread that weaves throughout the entire collection.

It’s important to point out that while this record is peppered with contemporary licks and experimental drum patterns, it is one of sophisticated finesse that requires attuning to a mature ear. The melodies are mellow and undemanding yet dignified in the obvious artistry of the collaborators. It’s for this reason that Mesquite is a fitting opener and an exemplar of the overall sound. The worldly beats both haunt and sooth in the same way Gotye channelled new wave experimentalism with his record, Like Drawing Blood. Justified invites vocalist Linda Janssen, who sings with wounded, emotive precision, while Tina Harrod enchants with an impossibly high vocal register in Little Man, Big Man against a backdrop of delicate keys and addictive groove.

The hazy beats and earthy rhythms drift in and out without fuss, making the record a compelling listen. This is best found in the instrumental tunes, such as Mesquire, Peaceniks, and the title track, The Protagonist. The album is likely to strike a chord with the esoteric jazz crowd; however it’s also filled with universal tones that will invite listeners from far and wide.

Album review - On A Bedroom Wall - Still Flyin'

pokerdotshorts — Sun, 21 Oct 2012 16:48:00 +1100

Published in Inpress/TheMusic.com.au 20.07.12

www.themusic.com.au

Shimmying on the edge of ‘80s dance and contemporary pop is On A Bedroom Wall, the second album from San Francisco group Still Flyin’. Ever since the release of their debut LP, Never Gonna Touch The Ground, in 2009, the band, which at any given point can include up to 15 members, have been busy touring the world. Whether this pop-odyssey spawned their new sound or perhaps a more polished recording experience, one thing’s for sure – this album is one luscious, synth-loving knockout that celebrates all that was good about the ‘80s.

Each song is doused in buoyant beats, hazy synth and catchy key riffs, making it somewhat hard to find the apex amid the ten-track collection. The vocals aren’t at the forefront, but rather slide in and around the instrumental colouring. Opener, Elsie Dormer, makes a grand entrance with a glittery lead line and breezy harmonies, much like Camouflage Detection. Cleat Talking is the most stripped-back track with earthy rhythms channelling Architecture In Helsinki a la That Beep.

While the record may mark the next wave of indie-pop, there is, as I’ve mentioned, an undeniable vapour of ‘80s dance that coats the entire LP. Big Trouble In Little Alabama is similar to the ’84 hit Tenderness by General Public, while lead singer Sean Rawls’ vocal lilt channels Talking Heads in Spirits. Surrender To Me is heavy on the synth, as is Travelin’ Man,the first single off the album. The track also provides a rare glimpse into Rawl and his hunger to achieve with the lyrics, “This waiting in silence, we’ve lost our springtime/This standing on one leg, feels like a lifetime.” Although other telling one-liners are buried within, the album is more a celebration of feel-good, innocuous fun that lovers of dreamy-pop will definitely dig.

Album review - Boys don't cry - Rumer

pokerdotshorts — Sat, 20 Oct 2012 16:26:19 +1100

Published in Inpress/TheMusic.com.au 04.07.12

www.themusic.com.au

It’s hard to shake that knee-jerk reaction to an album of covers – that is, surmising that it’s a cop-out, especially when the artist in question doesn’t have a back catalogue spanning beyond one album. Unlike Birdy, whose recent debut of covers was received to critical acclaim, Rumer’s venture is likely to spawn diverging opinions. The British artist’s 2010 debut album Seasons Of My Soul sold more than one million copies worldwide, earning her Brit Awards and a highly publicised fan in Elton John. Fast forward a couple of years and we have Boys Don’t Cry, a collection of songs she handpicked from the early ‘70s, all originally performed by men.

Each track is coated in a tender and airy musical ambience, a far cry from the mellow-yet-edgy jazz flavours that soaked Seasons Of My Soul. Rumer smooths out the Paul Williams trackTravellin’ Boy with her Dido-like vocals and ethereal back-up harmonies, before swapping Todd Rundgren’s piano-driven Be Nice To Me for a lighter acoustic melody. Her take on Ronnie Lane’s Just For A Moment is Rumer at her best, with her emotive vocal delivery leaving you believing every word as if it were her own. It’s this feature that keeps the album afloat amidst a few dated arrangements, especially during her cover of Townes Van Zandt’s Flyin’ Shoes, a version that drowns out the rustic hardship of the song with a sweet melody. Richie Havens’ It Could Be The First Day follows suit with an outmoded arrangement more fitting for a hotel lobby than a modern LP.

The record ends on a high with John Sebastian’s Welcome Back in all its chiming, ‘70s-beat glory. Despite some lacklustre backdrops, Rumer’s soulful-yet-dulcet voice provides a fresh vehicle for these tales. Sadly, all that’s missing is the spark from her debut.

ALBUM REVIEW - FORGE AND FLAGON - SKINNY LISTER

pokerdotshorts — Sat, 20 Oct 2012 16:22:43 +1100

Published in Inpress/TheMusic.com.au 04.07.12

www.themusic.com.au

With all this talk of sea shanties, trawlermen and gaffs, you’d be forgiven for thinking that Forge & Flagon, the debut LP from London act Skinny Lister, is a parody of sailor sing-alongs. As far as modern folk goes, our ears are so attuned to contemporary acts (à la Mumford & Sons), making it easy to forget the genre’s hard-labouring, dirty-pub roots. It’s this love of the origin that Skinny Lister relish throughout their 12-track collection, a love that stems from pubs across the English landscape. John Kanaka takes you there within a heartbeat with its beer-soaked chant, hurling you right into the middle of a stomping male throng. Like many of the tracks on the album, it’s irritatingly addictive, leaving you either loving the salvo of testosterone or loving to hate it.

If The Gaff Don’t Let Us Down turns a simple arrangement into a frolicking foot-stomper through catchy, lyrical melodies, especially with the line, “I’ll be dreaming ‘bout you England 50 days and 50 nights”. Rollin’ Over is another leaping gem, as is Trawlerman. The second half of the album takes an interesting turn, especially with the arrival of female vocalist Lorna Thomas, who’s a sweet addition to the bro-heavy offerings. They also manage to strike a balance and (slightly) soften their rough tunes, all the while keeping their addictive, raucous sound.Seventeen Summers is filled with nostalgic resentment and hometown-yearning with the chorus line, “On these rotten streets my best days have been spent,” while the slow-building Colours is sure to strike a chord with indie-folk lovers. You may liken the hearty sing-alongs to brashness upon first listen, but before you press eject, give this record a good thumping (above the civil decibel count) and you’ll be rallying around these guys in no time.

LIVE REVIEW - HIS MERRY MEN W/THE DUB CAPTAINS & THE BON SCOTTS @ THE EVELYN, 24TH JUNE 2012

pokerdotshorts — Sat, 20 Oct 2012 16:18:00 +1100

Published in Inpress/TheMusic.com.au 29.06.12

www.themusic.com.au

The phrase “beer o’clock” is scrawled under the bar ledge, but pots and pints are few and far between at today’s matinee show, with the weary-eyed punters instead opting for Red Bull. Not the least bit deterred by the echoey room, opening act The Bon Scotts give an absolutely brilliant performance. Complete with mandolin and piano accordion, the folk rockers display a level of artistry that’s both admirable and exuberant. Notable mention goes to the mandolin player who, with one leg perched on an amp, performs an animated (and hilarious) solo on his tiny eight-string. All 12 members of The Dub Captains are beaming as they squeeze onstage next. The chemistry of the group is undeniable and a welcoming addition to their soulful, reggae tunes. The band’s only nemesis is their chosen attire, which sees them looking more barbeque than stage-ready. All it would take is some simple tee swapping to lift the spectacle tenfold.

The crowd begins to swell with the arrival of today’s headliners, His Merry Men. Having already achieved triple j rotation, the nine-piece Brisbane act are in town to launch their debut LP, Kind Of Loud. Thecollection of big-band tunes is inspired by their love of surf rock, electronica and hip hop, yet to draw comparisons to these genres is an injustice to their huge, jazz sound. Lead singer Megan Crocombe is the backbone of the group and, in between charming the crowd with witty banter, she sings with a gorgeous, emotive resonance that glides over their monumental musical pieces. What’s more, each song has its own stunning, pre-planned performance, whether it be a simple, choreographed dance number or unified kneeling while one member remains standing to perform a solo.

The set reaches new heights when Crocombe introduces baritone saxophonist Andrew Ball, who owns the stage with one hell of a masterly improv number while his bandmates watch in awe. It’s this healthy reverence for each other that makes them all the more endearing to watch. Despite having every reason to take themselves seriously (after all, they are professionally trained), they don’t, and instead can be seen pulling quirky faces without missing a note. The highlight of the set is their single, Super Secret Spies, a fast and funky-layered tune with a smattering of new-age jazz. To the crowd’s delight, the horn section ends the show with yet another killer unison dance. And with that, it’s time for some beers.

An ode to the Daintree

pokerdotshorts — Thu, 21 Jun 2012 01:09:00 +1000

Click on the image above to view the complete album

Live Review - Graveyard train W/Howl at the Moon & Jackals @ The Hi Fi Bar, 2nd June 2012

pokerdotshorts — Tue, 05 Jun 2012 10:50:00 +1000

Published in Inpress/TheMusic.com.au 05.06.12

www.themusic.com.au

You know you’re in for an interesting night when the stage is adorned with mannequin heads and daisy chains. Keeping closely in theme with the ‘spook’ is opening act Jackals, who thrill with heavy reverb and measured, mighty beats. Multi-instrumentalist Mike Lillis ensures most eyes are firmly glued to his side of the stage as he rotates between the clarinet, piano accordion and one impressive handmade guitar resembling a belt of frets. They end with the cryptic and resounding VST; however it’s the line, “Walking down Slag Street” from an earlier song that sticks. Howl At The Moon arrive next with some mean-looking equipment. Their tunes are absolutely absorbing and akin to that of PJ Harvey, with highlight, The Hostage,drawing the biggest applause.

There’s definitely no shortage of beards, red lipstick and polka dots. The Hi-Fi is packed to the brim, the crowd obviously keen to see horror-country outfit Graveyard Train for the second night in a row, a remarkable feat for the Melbourne lads. Word on the street suggests that last night’s show was phenomenal, further raising the stakes for tonight. The lights are cut as the sweet sound of the Willy Wonka tune, Pure Imagination,rings through the room while the daisy chains glow – a glorious, suggestive disparity before what’s to come. The six men pile onstage with a demonic presence that can only be seen to believe, opening with One Foot In The Grave from their highly acclaimed new album, Hollow. From the word go, their sinister undertone is exposed, one that’s both fearsome and addictive as all hell. Beau Skowron has devilish, bulging eyes that roam around the crowd, wickedly licking his lips in a satanic way.

Their unparalleled set invites ominous rumblings through banter and song, especially when united to form an all-male choir, producing deep, sonorous vocals that shoot up your spine. Their killer new single, I’m Gone, is fast and sweaty, along with many of their new ones. Lead singer Nick Finch and band share a solid camaraderie that elevates the set, especially when they play old favourites from The Drink, The Devil And The Dance. Bit By A Dog is a highlight andone that has the crowd crooning every word while the band furiously belt away to a masterly, haunting rhythm. There’s no filler, no ‘time-to-go-to-the-bar’ songs, only pure animated madness that has you hooked from start to finish. They’re unrivalled and unlike anything you’ll ever see in the way of live music.

Live Review - Lanie Lane w/The Rubens & Steve Smyth @ The Corner Hotel, 26th May 2012

pokerdotshorts — Thu, 31 May 2012 22:28:00 +1000

Published on Unpaved 31.05.12

www.unpaved.com.au

There’s no denying the electric stage presence of Steve Smyth. The hippy/rocker offers a raw, emotive set that has the 9pm crowd whistling and swaying, ending with, “Have a beautiful night have a beautiful night have a beautiful night!” Four-piece The Rubens are instantly likable, displaying all the signs of a tight, touring band. Their set blends rock and blues, yet what threads their collection together is their own modern-pop edge, one that sets them apart from their current radio contemporaries. Above all, they’re exciting, and one of the few acts in recent weeks to have me absolutely enthralled from start to finish. The inevitable album plug is not only one of genuine pride for the record, but a thirst to keep touring. “Help keep us in the industry for the next twelve months, keep living the dream.”

“We asked ourselves, ‘Are we sure we can do it? Are we sure we could fill the Corner?’ “ Lanie Lane giggles on stage. Fill the corner, they do. In fact, tonight is the first sold out show of three for Lane at the iconic Richmond pub, a remarkable feat for the Sydney artist. Since the release of her debut LP To The Horses, Lane has secured festivals slots, industry awards and recognition from APRA, the national (and prestigious) songwriting body. The rapturous crowd goes wild as Miss Lane prances on-stage donning her signature hair rollers, short-shorts and red lipstick, looking every-bit the part of a modern rockabilly chick. Opening with What Do I Do, the lyrically hard-done-by track showcases her vocal breadth, one that goes beyond even the highest notes reached on her recordings. She goes straight into My Man, one hell of a sexy tale and one that simmers with resentment as she oozes each lyric out, waiting with baited breath for a lover who “won’t give me no loving.”

Lane strikes the perfect balance between banter and song. In fact, because she’s so bubbly and witty, I find myself recording her self-confessed ‘nervous ramble’ more than the songs themselves (mind you, that’s because I know each one). She introduces Heartbeat with, ‘…this isn’t really dancey, it’s more of a teary one’, before finishing the poignant number with, “Cheers big ears. Is anyone coming to the other shows? No? Ya stingey or somethin’?” Lane drops the beat down with her favourite song and title track To The Horses, a pensive number that’s both beautiful and yearning, one that has Lane drift off to a place far from the city smoke. It’s moments like this that we see the real Lane, a dreamer who uses her music to travel beyond her consciousness and away to a place that fuels her imagination.

Jungle Man has a twirling beat, one that has the ladies drop their hands like paws and shake their hips circa 1950. Like Me Meaner is more of a smoky tale for poker, cigars and fedoras, suggestively crooning, “I could play nice or would you like me meaner.” Once again, the hilarious banter continues, this time after performing new song No Sound as Lane asks, “How’d you like the new song? I didn’t hear a lot of cheering. It’s like the new guy at school, you’ve got to give him a bit of a tough time at first, but then he’s OK.” More highlights include her cover of The Black Keys song Gold On The Ceiling, one that has Lane jumping and squealing in excitement between verses. She rounds up the set with the Jack White-produced Ain’t Hungry before announcing Oh Well That’s What You Get For Falling In Love With A Cowboy, to which the crowd goes wild. The spaghetti-western twang coupled with the ‘I told you so’ undertone makes the tune one of both mystery and intrigue, strengthened through Lane’s pitch-perfect and rich vibrato. She finishes with the current single Bang Bang, one sassy, jazz tune that’s fun and playful. However, the real highlight is the encore. Lane and guitarist Aiden Roberts perform his song The Drug, a beautiful ballad that has the whole room transfixed. She winks and before we know it she’s gone, yet her presence is felt long after she leaves the room.

Pictures by Tony Proudfoot

Live Review - Buckley Ward w/I'lls & Neighbourhood Youth @ The Toff In Town, 19th May 2012

pokerdotshorts — Thu, 24 May 2012 00:13:13 +1000

Published in Inpress/TheMusic.com.au 23.05.12

www.themusic.com.au

It’s tempting to do something, anything, to redirect the masses en route to the rooftop bar to the bandroom instead. The quality of opening acts lately has been brilliant and tonight is certainly no exception. The Neighbourhood Youth’sset is lively and innovative, experimenting with disco-drum patterns, melodic textures and sharp vocals. Their indie-rock sound is stadium big, one deserving of a much larger crowd than tonight’s civil group. It’s also refreshing to hear comprehensible lyrics right throughout, with, “You’re my only one,” bound to break a few hearts along the way. I’lls drop the pace with their Radiohead-inspired collection, complete with silky harmonies and earthy rhythms. They conclude the set to a packed room playing When I Knowoff their EP Thread, a few copies of which are sure to sell at the merch table tonight.

The headliners tease us with a soundcheck from behind the red curtain. Here to launch their album So Pretend, five-piece Buckley Wardare unveiled onstage to a huge applause. Like staring down a barrel, lead vocalist Jimmy Allen has an intense gaze that’s hard to ignore. What’s more, if you focus on it hard enough, you can somehow hear what he’s hearing and zone out the crowd, making the experience all the more intriguing. Although the alt.pop act are in the middle of their album launch tour, it’s definitely not the first time they’ve hit the road, having previously supported comparable up-and-comers Big Scary and San Cisco. Tonight, however, they look apprehensive during the first half of their set. The expansive crowd is perhaps to blame, engaged in their own conversations and battling to be heard above the music.

Midway through, the band become more comfortable, humorously baiting their fans with, “This song’s gonna be so rock‘n’roll, I’m gonna lose my glasses!” Their sound marries that of both supports, blending alt.pop and rock with rich hooks and euphonic harmonies. They’re young and fresh and if the crowd is anything to go by, have a widespread appeal. Title track So Pretend is a smooth-sailing gem and sounds like a mash-up between Youth Group and Guineafowl, blending all the right elements of the two. However In To The Darkening Blue is what everyone has come to hear, a breezy pop number with verses that hold the same weight, if not more, than the chorus. It’s addictive and the perfect closer.

Live Review - Boy & Bear w/Jungle Giants & Tin Sparrow @ The Forum Theatre, 16th May 2012

pokerdotshorts — Thu, 24 May 2012 00:07:26 +1000

Published in Inpress/TheMusic.com.au 23.05.12

www.themusic.com.au

The great Forum Theatre is in all its glory tonight, with the mounted Romanesque statues shining bright for all to see. Tin Sparrows open with a rustic, acoustic-driven set complete with whistles and foot-tapping tunes. The crowd remains still but enthralled nonetheless. “I never thought I’d be playing in a place like this. It’s like Caesar’s Palace!” Sam Miles of Jungle Giantssqueals. He’s right, you know. Brisbane four-piece Jungle Giants seem hell-bent on firing up the sizable crowd, a feat they achieve through resounding beats and infectious tunes. Not to mention the springy bass player who cavorts around the stage.

The suspense intensifies amid the swelling murmur of the sell-out crowd. Five-piece Boy & Bear have had a hugely successful two years, seemingly crossing over from indie to commercial radio with ease (though spare a thought for the devout folk fans who may still be licking their wounds over some heavy remixes). Tonight however is all about raw energy and the striking, vintage-patterned backdrop. The band open with Rabbit Song before going straight into Lordy May, a tune with thrilling keys that compel the crowd to move closer and closer. The group looks considerably more relaxed than during their last Melbourne show (on the eve of the ARIAs, mind you), joking, “We’re Sydneysiders, don’t hold it against us!” The blistering arrangement of Milk & Sticks explodes onstage and sees a myriad hands in the air, most memorably a front-rower whose fingers paint the tune.

Although the Forum has a 1,700-odd capacity, the gig is one of intimacy, with friendly rapport between band and crowd. Sandwiched between tracks off their award-winning LP, Moonfire,are a few newbies, the standout being the tale of a scheming lover in Three Headed Woman. The essence of their famed live set is Dave Hosking’s impossibly beautiful and resonating vocals, which peak during their cover of Crowded House track, Fall At Your Feet. While the lyrics may not belong to them, Hosking’s vocal conviction has us believing every word. Equally well received is Feeding Line, the 2011 smash hit that has the crowd ravished and stomping in elation.

Boycotting the conventional encore routine, they announce, “We’re going to do the first encore!” A fan jokes and screams, “Encore! Encore!” to which Mexican Mavis and Golden Jubilee cap off the night.The sea of darkness is speckled with phone-light as fans capture the last moment, one that ends all too quickly.

Live Review - Ainslie Wills w/Gold Bloom & Lisa Salvo @ The Workers Club, 12th May 2012

pokerdotshorts — Thu, 24 May 2012 00:03:00 +1000

Published in Inpress/TheMusic.com.au 23.05.12

www.themusic.com.au

Like a scene straight out of Wayne’s World, a cream-coloured Telecaster propped on display has the guitar fiends drooling. The starry stage serves as a shiny beacon for said apparatus, with fairy lights adorning the cosy platform. “This is about a guy I thought I’d get over in two weeks… a year later, I think I’m finally there.” Sans band, the pixie-like Lisa Salvo leaves an unparalleled imprint on the room, peeling back layer upon layer to reveal herself through a truly gorgeous, autobiographical performance. Her ethereal vocals drive her folk-pop melodies, requiring only minimal acoustic to carry each tune. She’s a born storyteller, singing, “You should’ve been publicly ridiculed,” in the sweetest of voices. Her presence, much like Cat Power, remains long after she leaves the stage.

The now packed room is heated and ready to turn it up a notch. Adelaide four-piece Gold Bloom blend dream pop and new-age folk with heady harmonies that ripple across the room. As tight as they are, their eyes are absent. It’s a shame, as the crowd wait with baited breath for banter that never comes, ending with the promise, “We’ll be a more awake tomorrow night.”

Wearing a blue kimono-like jacket and red heels, the night’s leading lady beams onstage, looking genuinely overwhelmed by the turnout. Mind you, she’s no stranger to success. Ainslie Wills’ first single, Wide Load, was a triple j hit a few years back, one that’s earned her the strong following here tonight. Straight up, she sounds like a fusion between Fiona Apple and Jeff Buckley, with the powerfully rich and emotive vibrato of the latter. There’s a real sense of artistry as she experiments with beats and licks, never shying away from breaking rhythmic conventions. What’s more, she feels it - in the way she moves and the way she sings - using her vast vocal range as a vehicle for her tales, rather than the reason for them.

The steady funk of Wide Load is met with eager revelry, channelling the same vibe as Warpaint’s Undertow. However, tonight belongs to Fighting Kind, the catchy first single off her upcoming debut LP, You Go Your Way I’ll Go Mine. By this stage, that dreamy Telecaster has had a sweet workout. The crowd loves Wills and she loves the crowd, a connection that’s bound by her warmth and a colourful live show. The band return for the encore, Ocean, and joke, “Thanks, we had nowhere to go!” Oh, how wrong they are.

Live Review - The Toot Toot Toots @ The Hi-Fi Bar w/Little John & Mother and Son, Friday May 4th

pokerdotshorts — Thu, 17 May 2012 00:25:00 +1000

Published in Music Universe 16.05.12

www.musicuniverse.com.au

The diverse crowd sprawled outside the Hi Fi Bar tonight is buzzing, drawing curious glances from the more civil passersby. Prematurely packed with colourful characters, the band room is even more alive. Cowboy hats, Elvis quiffs and rockabilly chicks add an old-time vibrancy that only a few Melbourne venues can boast, and ever fewer bands can draw.

Mother and Son are the first to take the stage, playing below only a slight glimmer of purple light. Having been lucky enough to witness their live set a number of times, I can guarantee these guys don’t disappoint, nor ever seem to have a ‘off’ night. Initial glances from the crowd suggest intrigue at the two-piece drummer/guitarist combo before their talent is unraveled. Guitarist Bodie charges forth across the stage (and into the crowd) with surety, fusing surfabilly and rock with rich, rhythmical beats that has everyone onside.

Little John bring it down a notch albeit fluidly. Layering country-gospel harmonies over blues and folk-rock melodies, the five-piece both charm and inspire. The band seems a little distrait during the first-half of the set, yet make up for it in the second, with front man John Dickson jumping about the stage (and the audience), coaxing the initially-statued crowd to frolic about with him. Stage antics aside, at the heart of the set is pure, natural finesse, namely Put Your Hands On Me, a song that flourishes amid gorgeous harmonies.

Talk around town lately suggests that local lads The Toot Toot Toots are the buzz-band of the moment. While this is definitely true, the talent in their recordings extends far beyond the bout of exposure that a ‘buzz-band’ receives. Their first EP Curse the Crow, released in 2010 (albeit regrettably added to my collection only late last year), is a gravelly concoction of gutsy vocals, fast beats and danceable country tunes. Tonight however, is the launch of their long-awaited LP Outlaws. The lads arrive to a room packed from bar to stage, feverishly whistling and cheering. One song in leaves little wonder as to why they’re famed for their live show. They’re charming, but above all, look just as happy as we are to be here. Not to mention the striking, shimmying go-go- dancers who further lift the spectacle.

Gomorrah Fields is played early on, a song that blends all the best elements of the Toots – storytelling, brazen beats and that addictive spaghetti-western twang that ducks and weaves throughout their collection. The crowd favourite Tally-Ho has a military beat that bands the room together, heightened by the arrival of the impossible, sonorous vocals from the gravelly man himself, Danny Eucalyptus. His voice is one that must be heard in the flesh to be believed, one that will have you both shaking in your boots, but preaching to the end. Co-vocalist Giuliano Ferla, who doubles as a trombonist and percussionist, strikes the perfect balance for the singers and is instantly likable through his theatrical banter and thrilling vocals.

Oh!Maggie is another crowd favourite, one that displays a genuine camaraderie from the group for all to see. What stands out about the set is that it’s one of frenetic energy that has the crowd jiving country-western style, all the while never loosing that underlying hint of dark rock and blues. The crowd stomps like a marching army eager for the inevitable encore, to which they come prepared to sing a cover of Elo’s Livin’ Thing, a hilariously left-field (but awesome) addition before capping off the night with one of their biggest songs to-date, That’s My Boy, leaving us sweaty, spent but deliriously content.

Mother and Son

Little John

The Toot Toot Toots

Live review - Groovin the Moo, Bendigo Showgrounds

pokerdotshorts — Mon, 14 May 2012 11:55:00 +1000

Published on Music Universe 10.05.12

www.musicuniverse.com.au

Arriving at a music festival at 10am has its perks. For starters, the run was smooth, taking just over an hour to get to Bendi-groo from Melbourne. Secondly, the toilet queue is only twenty people deep. Rather than the Big Day Outs or Laneway Festivals, Groovin the Moo caters for the out-of-towners (and city commuters), touring only regional locations throughout Australia during its five-stop trip. The date however, is a risky one. On the one hand, the music event rounds up the festival season, playing host to a stellar lineup each year. On the other, it teeters on the cusp of winter. That being said, we bounce into the grounds layered to the chin, trying our best to ignore the threatening clouds circling above.

Despite arriving early enough to milk the ‘moos’, we still somehow manage to miss the opening act Darts, so it’s Grand Perceptor who are the first to beckon us to the Triple J stage. The terror-rockers wake up the weary before the crowd shifts to the neighbouring Channel V stage for Triple J-ers of the moment, San Cisco. This band deserves every bit of hype they’ve received lately. Their tunes are indie and cute, minus the ‘cheese’ that’s seems to be seeping into the genre of late. The only drawback is their early set time. Three drinks in would’ve made a world of difference, and might’ve had the crowd dancing to the band instead of gesturing lewd hand puppets in front of the camera, evidently streaming on the stage screen (yes, under-agers are in attendance). The first of the girly squeals is heard during their hit Awkward, closing the set on a higher note than it opened.

The grounds are now packed full of baby hipsters and animal-suit onesies. United by the chilling air, we shiver and shuffle to the stage next door for more chicks on drums. Melbournians Big Scary give an absolutely flawless performance. “Way to go Bendi-go!” drummer Jo Syme offers before giving a shout-out to us city folk, “this goes out to everyone who caught the bus here.” The two-piece balance pop-rock with steady measured tunes. Bad Friends is a highlight, an emotionally charged song that intensifies halfway through when the beat makes a subtle yet extremely powerful entrance. Doubling as a guitar/pianist, Tom Lansek has a warm presence, especially during Mix Tape and Gladiator, yet it’s Syme who I’m enthralled by. A strong yet tender offering from a duo bound for big things.

As far as sing-alongs go, Matt Corby kills it with his hit Brothers, earning him the title of crowd favourite (among the female demographic anyway). It’s too bad we miss the majority of the set on the hunt for the port-a-loos. When we do find said-toilets, each line has at least fifty people queuing. At 1.30pm. Seriously, when will festivals ever learn to over-compensate?! Luckily for us, the VIP area is devoid of lines (score!).

Unlike their Aussie stage-counterparts, there’s no mention of the chill from these UK lads. NME darlings The Maccabees bounce onstage full of gusto to engineer a vibrant, refreshing performance. Despite previous releases, Given to the Wild is the first album to bring them to our shores, playing Feel to Follow, Child and their monster UK smash Penguin. Feeling warm from a boogie, we opt for a quick breather and watch the masses toddle along to the next stage for the volatile Andrew W.K, the most bizarre act of the day. Avid fans are few and far between, popping up sporadically amid a sea of patient, static punters. Rubbish throwers signal the inevitable crumble for our erratic singer, yelling at his hecklers long after the music has been cut.

A brief hiatus could very well be the best thing to happen to The Getaway Plan. Rather than reviving their love of heavy punk, the new tunes all seem to have that same underlying nostalgic melody similar to their 2008 smash hit Where the City Meets The Sea, ending the set on a euphoric note. It’s great to see them back doing what they do best. Incase there are any head-bangers in the crowd feeling deprived, Parkway Drive well and truly fill the void with a frantic metalcore set. The mosh-pit is not for the faint-hearted, swallowing the swarm of cute-indies and leaving behind only the crazies to jump and wrestle each other in the pit. I’ll never claim to be a “raaa-raa-raaaaaaaa” fan, but the bands comical and amicable demeanor had everyone onside, even those too scared to brave the crowd.

Next up is Ball Park Music, another buzz band I had been looking forward to seeing, yet I somehow find myself watching the two-man slingshot ride during most of the set. Their songs are soft-pop, and as tight as they may be musically, the cringey banter borders on pretentious, turning us right off with the lines, “this is for the lonely wankers at Groovin the Moo” and “this is for the motherfuckers and fatherfuckers.” Needless to say, we got the hell out of there and nabbed ourselves prime posts for Dallas Green, aka City & Colour whose wondrous performance has the sea of fans absolutely enthralled. His voice sends shivers up our spines as it soars across the grounds without so much as a tremble. In between the likes of Grand Optimist, As Much As I Ever Could & Fragile Bird, Public Enemy seeps through from the stage next door as they sound check/cause a commotion. Being the charming man he is, Green laughs it off with, “I bet you never thought you’d hear a City & Colour and Public Enemy mash-up” before ending the set with Sorrowing Man, a sincerely remarkable conclusion.

Flava Flav and his crew (aka Public Enemy) congregate to the stage to foster a set of nineties-rap goodness. The group absolutely nail it, continually baiting the crowd with, “Let me hear you say yeahhhhhh boiiiii…let me hear you say flava flavvvvvv!” to which the crowd echo each line in the air. We’re under their command as they churn through hit after hit, namely Bring the Noise and Don’t Believe The Hype. The group pay a tender tribute to Adam Yauch of the Beastie Boys, dedicating their set to him early on with, “…make some noise for my man Adam.” While the collective hip ‘n’ hop like they did circa ’95, it’s Flav who steers the bro-heavy set. Notable mention to his clock, tuned to AEST. Boi(s), I salute you.

Kimbra skips onstage donning a multi-coloured cape for the opener Two Way Street, not looking the slightest bit ruffled by the icy country air. The NZ starlet raises the stakes by dancing and jumping along during Good Intent and crowd favourite Settle Down, never missing a high note nor sacrificing vibrato. Using the crowd to debut Warrior, a track co-written with A-Trak and Foster The People, she modestly offers, “…you guys are hearing this for the first time! I’m nervous!” If there are any nerves, they’re definitely concealed during her fifty-minute set. Dancing with a tambourine in front of a picture frame backdrop (not to mention cheekily shedding the cape now and then to reveal her glittery corset dress) Kimbra is nothing short of a showstopper, no doubt tasting the fruits of a long, promising career.

By this stage, we’ve hit that point in the festival where the Bendigroo field is no longer the foreign ground we entered twelve hours ago. Instead, it feels like a world we’ve been living in for years, and one we can’t ever see ourselves leaving. We know every corner, every route, every barman and wristband-checker. Like everyone else, we roam around like we own the joint, and next it’s straight to the Triple J stage. Some circles consider Hilltop Hoods as ‘emergency headliners’. Such believers are nowhere to be found amongst the masses that gravitate towards the stage for the rappers’ insane performance. Good For Nothing is a sure-fire party starter, while Still Standing has the crowd jumping up and down, charging arms in the air. Whether you like them or not, the band have the ability to unite just about everyone in the crowd during their live set, continuing their reign as kings of the festival circuit.

Smashing Pumpkins 1979 is our pondering music, blasting through the speakers in the final minutes before the last of the acts grace the stage. Kaiser Chiefs or Digitalism? Having mastered the run from tent to stage, we ambitiously decide to tackle both. Front man Ricky Wilson opens with, “we’ve never been here before but it’s good to be here.” Kaiser Chiefs seem to have tailored their set perfectly for our double-bill plight, playing Every Day I Love You Less and Less, Everything is Average Nowadays and Never Miss A Beat straight up without a second to spare in-between. Their cult following is in full view, with just about every guy and gal singing along to every word. We tear ourselves away to catch the last of Digitalism’s set. The German duo are the masters of spin, working away in front of a strobe-light frame and mixing hit after hit. Without a doubt, the highlight is Pogo, not to mention the view of the field next door. Squashed booze-cans on the empty ‘over 18’s’ paddock pulsate with light from the stage, dotting the desolate grounds while we sardine-dance in the tent. The crowd revel in rapture, dancing with both elation and finality, accepting the inevitable end is near.

Remembering that we’re miles away from home, we join the crowd on-route to the buses heading back to Melbourne. Pledging to return next year, groups on the bus debrief in post-festival excitement, savoring the memories before the morning deems them stale. Bravo groove and movers. See you next year.